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A decade before Kickstarter, he offers idealistic yet practical advice to aspiring filmmakers, which applies with equal poignancy and precision to just about any field of creative endeavor:

The best advice I can offer to those heading into the world of film is not to wait for the system to finance your projects and for others to decide your fate. If you can’t afford to make a million-dollar film, raise $10,000 and produce it yourself. That’s all you need to make a feature film these days. Beware of useless, bottom-rung secretarial jobs in film-production companies. Instead, so long as you are able-bodied, head out to where the real world is. Roll up your sleeves and work as a bouncer in a sex club or a warden in a lunatic asylum or a machine operator in a slaughterhouse. Drive a taxi for six months and you’ll have enough money to make a film. Walk on foot, learn languages and a craft or trade that has nothing to do with cinema. Filmmaking — like great literature — must have experience of life at its foundation. Read Conrad or Hemingway and you can tell how much real life is in those books. A lot of what you see in my films isn’t invention; it’s very much life itself, my own life. If you have an image in your head, hold on to it because — as remote as it might seem — at some point you might be able to use it in a film. I have always sought to transform my own experiences and fantasies into cinema.

Later in his conversation with interviewer Paul Cronin, Herzog goes on to outline his unconventional vision for the ideal film school based on this very notion that all creative work must be rooted in lived experience and not in theoretical teaching or technical skill:

You would be allowed to submit an application only after having travelled, alone and on foot, let’s say from Madrid to Kiev, a distance of nearly two thousand miles. While walking, write about your experiences, then give me your notebooks. I would immediately be able to tell who had really walked and who had not. You would learn more about filmmaking during your journey than if you spent five years at film school. Your experiences would be the very opposite of academic knowledge, for academia is the death of cinema. Somebody who has been a boxer in Africa would be better trained as a filmmaker than if he had graduated from one of the “best” film schools in the world. All that counts is real life.

My film school would allow you to experience a certain climate of excitement of the mind, and would produce people with spirit, a furious inner excitement, a burning flame within. This is what ultimately creates films. Technical knowledge inevitably becomes dated; the ability to adapt to change will always be more important. At my utopian film academy there would be a vast loft with a boxing ring in one corner. Participants, working every day with a trainer, would learn to somersault, juggle and perform magic tricks. Whether you would be a filmmaker by the end I couldn’t say, but at least you would emerge as a confident and fearless athlete. After this vigorous physical work, sit quietly and master as many languages as possible. The end result would be like the knights of old who knew how to ride a horse, wield a sword and play the lute.

A diverse repertoire of experience, Herzog argues, offers the creative person “legs to stand on” — a kind of insurance against the loss of dignity and independence:

If a filmmaker has no other legs to stand on, he can be easily broken. When someone knows how to milk a cow, there is something solid about him. A farmer who grows potatoes or breeds sheep is never ridiculous; nor is a cattle rancher or a chef able to feed a table full of hungry guests. The eighty-year-old man who brought me a bottle of wine from his vineyard before my first opera opened in Bologna could never be an embarrassment, but the film producer who takes to the red carpet at every opportunity and keeps his awards polished will always look foolish. I have seen dignified ninety-year-old cello players and photographers, but never filmmakers. My way of dealing with the inevitable is to step out of my job whenever I can. I travel on foot, I stage operas, I raise children, I cook, I write. I focus on things that give me independence beyond the world of cinema.

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In 2018, the 12th year of Brain Pickings, I poured tremendous time, thought, love, and resources into this labor of love, which remains free and is made possible by patronage. If you found any joy and consolation here this year, please consider supporting it with a donation. And if you already donate, from the bottom of my heart: THANK YOU.

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Brain Pickings has a free Sunday digest of the week's most interesting and inspiring articles across art, science, philosophy, creativity, children's books, and other strands of our search for truth, beauty, and meaning. Here's an example. Like? Claim yours:

midweek newsletter

Also: Because Brain Pickings is in its twelfth year and because I write primarily about ideas of a timeless character, I have decided to plunge into my vast archive every Wednesday and choose from the thousands of essays one worth resurfacing and resavoring. Subscribe to this free midweek pick-me-up for heart, mind, and spirit below — it is separate from the standard Sunday digest of new pieces:

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